printing – Koraks tinkers

Feet of clay – My first impression of Harman Phoenix

The recent introduction of a color negative C41 film by Harman Technology (of Ilford fame) was both unusual and gutsy. Entering the market with a color product with a strong reputation specifically in black & white is a surprising move to begin with. Doing so in a way that resembles a 2020s startup more so than a firm rooted in the early 1900s is even more surprising. But what gives? Let’s look at some pictures! In particular, some optical RA4 enlargements.

Ogling curves – Comparing salted paper, Van Dyke and DAS carbon

Earlier today I posted a blog with analysis of curves and especially hues of salted paper prints. I mentioned a comparison of curve shapes with some other processes as well, and since that’s fairly easy to do, I thought I could follow up on it right away. In this brief blog, let’s have a look at the H/D curves of salted paper, Van Dyke and DAS carbon.

Shades of grey – A look at the tones of a salted paper print

Last night I felt like doing a salt print. Why not do some measurements on it? Just having fun with the photospectrometer, really! And sometimes, just playing can give some insights. Perhaps a surprise, here and there?

Big ugly no longer big (still ugly) – RGB LED head for color printing revision

As soon as something sort of works, I generally leave it as is and use it as is. Until the shortcomings become annoying enough to actually do something about it. Which is the story of my color enlarger project in a nutshell. A story that hadn’t see much development lately – after all, it sort of worked, right? Well, the annoyance got the better of me, so I did another iteration.

Crossroads – A closer look at Kodak and Fuji digital RA4 crossover

Earlier, I wrote about digital RA4 papers suffering from crossover. I feel it’s time to revisit this topic, because I stumbled across some illustrations that make the issue more tangible. Let’s have a look at some theory and split some hairs!

Color potential – Remaining dyes in processed RA4 paper

As I was setting up for a color printing session, I did a quick experiment to prove something to myself that I already knew. It’s just that I had never before empirically witnessed it. It’s about the dye couplers that remain in the emulsion of chromogenic color materials, such as RA4 paper. Yes, they just stay there, even if they’re not part of the image. Pretty neat – or disconcerting?

Ready, set, go – Stuff you need to get started with carbon transfer

This post is in answer to a question from Esmee (check out her work via https://www.eamy.nl/). Since others might somehow benefit from it as well, I might as well just put it up for everyone to see. So here’s a little shopping list of what’s needed to get started with carbon transfer using DAS sensitizer.

Creative possibilities in RA4 printing

Sometimes I read comments on RA4 printing like “it doesn’t allow for much creativity given the required tight process controls”. Well, I don’t agree. Recently, when I read a comment along these lines, it triggered me to list the more creative ways RA4 printing can be done. Here’s that list, with a brief explanation to go with each entry.

Collimated vs. diffuse light – a cyanotype example

On a forum, someone asked how to get their cyanotypes made with 3D objects instead of a negative crisper. The fundamental issue at work here is how collimated or diffuse the light source is. Here’s a quick example of the difference between both.

Creative RA4 – Bleach and redevelop

Straight printing on RA4 paper is great fun and it’s what I do most of the time when I print color in the darkroom. But the RA4 process has several tricks up its sleeve. The other day I decided to revisit one of those tricks I had played with briefly some years ago: bleach and redevelop. Here’s an example of what it does and how it’s a useful took in boosting print contrast without saturation going overboard.